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Click Editorial Board Executive Committee 2014/2015

Editorial

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take this opportunity to thank Mr. Johann Debono and Mr. Emanuel Haber, the outgoing editor and designer of Click respectively, for their sterling contribution and for the high standards achieved in the past publications. They can boast of having achieved two major PSA awards, winning Best Layout and Best Technical Articles and keeping the name of our Society flying high among other contenders from bigger countries. I hope that my contribution will keep this magazine alive with useful articles and information as previously done by my friends.

By the time you receive this edition, we will be nearing the end of yet another successful season of weekly meetings and Club competitions. It will be the right time to browse through your images and prepare for the Gran Finale which this year marks the 50th National Annual Competition and Exhibition. This is another milestone in the history of our Society and we should all feel proud to form part of all this.

Plan and print your best images and make sure to read the rules of the competition before submitting your images.

Roll up your sleeves and put that extra effort. Remember there is nothing more rewarding than to have an acceptance or an award and having your image on display during the forthcoming exhibition.

I hope you will enjoy this edition of Click.

Noel Portelli

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Front Cover Photo: A Sailor in Town - by Rita Spiteri Terribile

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Editorial 2 Viewpoint 3 Winners Mentoring/Panels Competitions 4, 5, 6, 7 The Overlooked Performance 8,9 Classic Hollywood Portraiture

10,11 The Kenya Experience

12,13,14,15 Member Profile-Rita Spiteri Terribile 16,17,18 FIAP News & Internationals Accept/Awards 19 A Perfect Portrait Location 20,21 How Was It shot?

22,23 Society Activities 24,25,26,27,28,29 Calendar of Events 30 Notice to Members/Avantech Donation 31

Louis Agius

Vice President Jane Farrugia

Hon. Secretary Pauline Grech

Hon. Treasurer Valerie Chetcuti

Competition Manager Joseph Caruana

Courses Co ordinator Paul Deguara

Premises Manager Mark Brincat

Social Activities Manager Mario Mifsud

Editor

Noel Portelli

Editorial Advisors

Jane Farrugia, Elisabeth Abela

Design & Layout

Noel Portelli, Emanuel Haber

Contributors

Alex Attard, John Borg, Pierre Sciberras, Rita Spiteri Terribile, Ken Dickson, Noel Fenech, Jeffrey Cassar

Printing: Veritas Press

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Table of Contents

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MALTA PHOTOGRAPHIC SOCIETY

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P.O. Box 590, Valletta, VLT 2000, Malta 137, Old Bakery Str, Valletta, VLT 1457, Malta Tel No: (+356) 21 242 265

MPS e-mail: mps1961@gmail.com Click e-mail: editorial.click@gmail.com Readers are invited to visit the MPS website on www.maltaphotographicsociety.org

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Viewpoint Another Year is Here

year has gone by and we are already into Yettheanother third month of 2015. As the saying goes, time flies and years go by, but for me the passing of years means adding experience and storing good memories.

With experience one can add wisdom and memories which could be good ones, and although others may not be so, they sometimes make us stronger.

In 2015 the Society will be in its 54th year since the late Joe Sammut and friends made the leap to organise a photographic group. Thanks to this beginning the Society grew into what it is today.

Speaking of birthdays, 2015 will also be the 50th anniversary of the Society’s annual National Photographic Competition & Exhibition. The organizing committee is busy trying to make this event more special and we are hoping to find an adequate place to hold this year’s exhibition.

While mentioning the 50th National Competition, it is important to remind you to start planning your entries as the closing date for the competition is the 2nd of May, and the judging will be held on the 30th and 31th of the same month. So drum up some energy and start preparing your photos for this important competition which then leads on to the Society’s prestigious exhibition.

This year will see the beginning of a new journey or chapter for the Society’s newsletter ‘Click’ with Noel Portelli as its new editor. We would like to thank him for taking on this important task, and I am sure that his enthusiasm and energy would help him to become as successful as his predecessors.

I would like to encourage all the members to make

Issue 1 / 2015 - Mar 15 / May 15

suggestions and come up with ideas for improvements as regards all the activities of the Society, and for this, one can write to the club secretary on the MPS email address. We are also open to suggestions for improvements to our club premises.

I am sure that like me, many of you travel abroad and as photographers return back with plenty of photos that they would have shot during their holiday. Some of this work may end up in exhibitions and competitions, so although some may say a holiday is a deserved rest, it could also end up making you a winner and it would be one holiday that you would not forget so easily! During my travels I enjoy the time spent alone with my wife, the atmosphere and surroundings, the culture and the culinary of the place that we would be visiting. On such days I carry my camera wherever I go, so as not to miss any special shots; both during the day and night.

The pre-holiday period is also fun as during this time I research the place that we would be visiting to target certain areas and places of interest that I would want to see, as it is important to be prepared beforehand and to wait in anticipation for that special day of take off.

But then it is back to the old routine of catching up on all the work that needs to be done, and we start saving and dreaming …… until the next one!!

The virtue of the camera is not the power it has to transform the photographer into an artist, but the impulse it gives him to keep on looking. –Brooks Atkinson

Louis Agius FMPS EFIAP PPSA MPS President 3

Winner of the first Panel Heritage in the Three Cities Presented by

Noel Mallia

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Winners of the Third Mentoring Competition Moonlight Mar 15/May 15 - Issue 1 / 2015

Pierre Sciberras

Noel Fenech

Louis Agius 5

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Winner of the Second Panel Competition Group Por traiture Monochrome Presented by

Issue 1 / 2015 - Mar 15 / May 15

Pierre S ciberras

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The Overlooked Performance A fine art photography Exhibition

A project by Alex Attard Curated by Dr. Vince Briffa

Social Poetry

Modular Inspiration

The Skin Beneath the Face 8

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the unconscious level of human behaviour as a result of the workers’ necessary interaction with tools and materials relative to the circumstances of their tasks.

The ephemeral art beneath the face of Renzo Piano’s new Parliament for Valletta.

The Valletta City Gate project, incorporating the new Parliament building, is a site of national and historical importance, noted for its social and cultural significance and now further reinforced both locally and internationally through association with architect Renzo Piano.

This body of work seeks therefore to interpret the key concepts of chance, reality and perception in these overlooked performances. It aspires to explore the inconsequential as an aesthetic and attempts to find meaning in chaos and a reason for being.

It is both an artistic expression and a document about the skin beneath the face of an important architecture project and about the temporality and influence of man at his workplace.

The project is curated by Dr. Vince Briffa and it is supported by the Malta Arts Fund and endorsed by Valletta 18 Foundation.

For over two years, photographer Alex Attard observed works as they developed at Renzo Piano’s new parliament for Valletta. He found that a building site is not unlike theatre. Workers perform to a script set by the architect and his team.

It can be viewed in the Upper Galleries of St James Centre of Creativity in Valletta, from 7 March to 5 April 2015.

There is, however, another underlying performance which is very often overlooked. It lies at

www.alexattard.com

Mar 15/May 15 - Issue 1 / 2015

www.overlookedperformance.com

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by John Borg

Classic Hollywood Portraiture

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have always been fascinated by the classic Hollywood portraits namely those of George Hurrell. His portraits were meant to elevate his subjects to a level of stardom. A sense of grandeur, so to speak. It was another time of class and elegance.

In the 1930s these were shot in black and white. They were mostly high contrast with blown out hair and skin highlights.

Continuous lights using Fresnel lenses were used as the key light in those days. This gave the portraits a dreamy look. This also aided to hide flaws and wrinkles.

I have used standard studio lighting in my portraits and attempted to get similar results by using directional light aided by some editing tweaks. It was important to get light and shadows, particularly the shadow of the eyelashes showing under the eyes. I achieved this

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by attaching a small silver reflector fitted with a honeycomb grid to the key light. It is important to get the shadows under the nose and chin to get the desired effect. So the main light has to be positioned above the head, and slightly sideways.

As to the hairlight, I again used directional light fitted with barn doors Posing in the 1930’s usually depicted the actress/actor looking sideways and not directly at the camera.

However, this pose was put aside later on in the 40’s and 50’s. Make -up was mostly done with fine eyebrows and dark lips, with short or shoulder length waved hair.

Regarding editing, layers were used combining two channel mixers to convert from colour to black and white: one for the skin tones and another for the rest of the image. A second separate layer was used for the skin so as to obtain the desired pale finish and still retaining adequate detail. To get the dreamy look I used a technique called High Contrast Diffusion after converting to a smart filter. Hence, with the use of curves I was able to retain maximum blacks and whites where desired after adding diffusion on selected parts.

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My Passion - Travel Photography - The Kenya Experience -

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hen people ask me what I am passionate about I reply “photography�. It is what drives me to my other hobby: travelling.

As I wander around new places, in my mind I am viewing everything through a lens. I can see the image before I take it: the composition and the emotion I want to capture. I simply love experiencing new places and cultures and capturing these moments in photographs. I love to see expressions on the faces of others as they view my photos and I feel satisfied to be able to convey a story to them through my photography.

The year 2014 will remain a great memory after spending three weeks in Africa. It was my second time in Africa. My first visit was to South Africa, Lesotho and Swaziland in 2013. It was an amazing experience so I decided to re-visit in October 2014. This time I wanted a deeper experience of Africa by living with the locals in tents and not in luxurious lodges which hide the true African life. I headed off for Kenya, Tanzania and Zanzibar carrying with me my travel buddies, my Canon 650D, Canon 70D, 18-55, 24-105L and 70-300L, my tripod, external hard drive, notebook, LEE 10 stop Filter, ND Filters, Polarizers, eight 32GB SD Cards, eight spare batteries, two chargers, extension and a bean bag.

I landed in Nairobi and found my guide waiting for me. Whilst driving for my hotel, I was stunned by the crazy driving and huge traffic jams. Nairobi is the capital and largest city of Kenya with an estimated population of over 3.38 million.

Since it was dark, my guide advised me not to go out on my own, so I spent my one night inside the hotel resting for the next day, the start of my amazing s a f a r i .

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by Pierre Sciberras The first stop of my Kenya Safari was in the Masai Mara where I spent three glorious days. Masai Mara National Reserve stretches 1,510 sq km and hosts over 95 species of mammals and 570 recorded species of birds. It is here that you will see all the big animals of Africa. Lions abound throughout the park as do leopards, cheetahs, hyenas, giraffes, impalas, wildebeests, topis, baboons, warthogs, buffalos, zebras, elephants, and of course hippos and crocodiles in the Mara River. Here, you will witness some of the most beautiful sunsets on the planet. I spent early morning sunrises and late evening sunsets out on the African Savanna searching for all the wild game I could find in the heart of Kenya. Here I had the opportunity to do a hot air balloon ride safari over the Masai Mara. The adventure started at 5a.m. when together with others, I was suspended in a basket, off for a wildlife viewing adventure with an entirely different perspective.

I was amazed by the silence as we floated above the plains, the forest and the rivers of the reserve with ample opportunities for photography.

The flight lasted an hour, followed by a champagne breakfast in the bush.

I also had the opportunity to visit a Maasai village. The Maasai tribe is a unique and popular tribe due to their long preserved culture. Despite education, civilization and western cultural influences, the Maasai people have clung to their traditional way of life, making them a symbol of Kenyan culture.

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My Passion - Travel Photography - The Kenya Experience The Maasai tribe has a deep relationship with cattle. They are guided by a strong belief that God created cattle especially for them and that they are the sole custodians of all the cattle on earth. The measure of a man’s wealth is in terms of cattle and children. A herd of 50 cattle is respectable, and the more children the better. A man who has plenty of one but not the other is considered to be poor. The piercing and stretching of earlobes is also very common among the Maasai. Since they lead a semi-nomadic life, their houses are loosely constructed and semi-permanent. They are usually small and circular, built by the women using mud, grass, wood and cow-dung. The duty of men is to build fences and sheds for the animals and protect the cattle.

The next stop of my safari in Kenya was in Naivasha, a market town in Nakuru County lying north-west of Nairobi. I had the opportunity to do a boat ride on Lake Naivasha where I saw beautiful scenery and photographed different kinds of beautiful birds including swans, geese, ospreys, eagles and vultures.

The following day I left for Nakuru. It was interesting to watch how nature, climate and people’s occupation change along the way. I saw a lot of people on the roadside making and selling charcoal, gathering wood and maize, splitting stones and even welding steel doors. Nakuru is quite a big city but very noisy and crowded with 307,990 inhabitants. Small Scale Agriculture, manufacturing and tourism are the backbone of the economy of Nakuru.

I stayed overnight in a Guest House followed by a trip to Lake Nakuru the day after. The park has large numbers of flamingos that can be seen in the shallow lake. The lake’s abundance of algae attracts the vast quantity of flamingos that famously line the shore. Other birds also flourish in the area, as do warthogs, baboons and other large mammals. Nakuru is perfect for game viewing, being the home to the black and the white rhinoceros.

I then moved to Lake Bogoria to see the hot springs and geysers. On the way to Lake Bogoria I passed the geographical equator, with great photo opportunities by the signs. Lake Bogoria is a saline, alkaline lake that lies in a volcanic region in a basin south of Lake Baringo. The lake offers fantastic views over the hills of the Valley and is as equally bountiful in flamingos as Lake Nakuru. The area of the hot springs is of good size with numerous sources where the hot water erupts up to three meters high. The water with minerals creates fantastic pathways on the ground with beautiful colours.

The following day I hopped into our safari van for the last three nights in Kenya. The next stop was Amboseli National Park, located at the foot of Mt. 14

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continued from Page 13 Kilimanjaro, Africa’s highest mountain.

The snows of the mountain form a majestic backdrop to one of Kenya’s most popular spectacular displays of wildlife which include the African elephants, impalas, lions, cheetahs, hyenas, zebras, buffalos and wildebeests among other African animals, creating Kenya’s most sought after photographer’s paradise.

The evenings were spent in a popular campsite enjoying the views of Mt. Kilimanjaro, watching the locals sing and dance whilst drinking their popular Kilimanjaro beer. I did not have the opportunity to climb it, so I drank it!

Half-heartedly, I had to bid farewell to Kenya and the friends I had made there because it was time for me to cross the border and head to Tanzania.

This amazing experience will be shared with you in another issue.

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Member Profile

Rita Spiteri Terribile compiled by Jane Farrugia

Rita Spiteri Terribile has been a member of the Malta Photographic Society for the past five years. She regularly attends lectures organised by the Society and takes part in local and international photographic competitions, with good results. Rita, who is now

fifty years old, still recalls how she was attracted to her father’s Kodak instamatic X-15 camera, way back in the 70’s. Since she joined the MPS, Rita’s love for photography has developed a great deal, attended

Ex Boxer The Pipe

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different workshops and studied advanced photo editing.

Fiona

Her favourite local photographers are Ramon Sammut and Roderick Cachia and her most liked styles of photography are monochrome, pastelato and chiaroscuro. Portraits, wedding and fashion are Rita’s preferred photographic subjects and her equipment consists of a Canon 5D MKII, a 70-200mm f/2.8L IS II USM lens, a 24-70 f/2.8 lens, a Canon 580 EX II speed light, a Canon G 11 power shot and a 27inch Mac for photo editing.

Father & Son

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Rita Spiteri Terribile, lives in Valletta and is married to Philip.

She has a son and a daughter and two grandchildren, Jean Leon and Alessandro.

Besides photography she enjoys reading, cooking and spending some quality time with her family. Through the years Rita has collected more than twenty-five photo albums and this shows her affection for photography. She states that she joined the MPS to share her passion with other photographers and learn more about photography through their experience.

Rita’s future aspirations are to constantly reach new levels and further develop her artistic touch.

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FEDERATION INTERNATIONALE DE L’ART PHOTOGRAPHIQUE

FIAP News – compiled by Lawrence Bonnici AMPS HonFMPS –FIAP Liaison Officer 17th Nature Biennial Jury Report was announced for the 17th Nature Biennial that was held in India. Unfortunately our Society did not take part in this Biennial. Our congratulations go to Italy and South Africa who won the world cups for the Prints and Projected Images respectively.

New Website fiap.net The new FIAP website, more modern and practical, has been online since November 1st 2014.

New features are under development, like online payments and others.

37th FIAP Youth Digital Biennial 2015 The Photo Association of Serbia will be organizing the 37th FIAP Youth Biennial in 2015 which is divided into 2 categories, up to the age of 16 and up to the age of 21. Each association may enter 20 Digital works (max 2 works per author) per age category. Subject matter is free. Entry Fee will be paid by the Society. The overseas closing date for this Biennial is 1st June 2015.

Please ask for more details. We look forward for your participation.

International Acceptances & Awards Name

Country

Acceptances Awards

Agius Louis

Cyprus, Bosnia, Egypt, Turkey, Hungary, Greece, Serbia

34 PI

Attard Leanne

Cyprus

2 PI

Azzopardi Manweli

Cyprus

1 PI

Caruana Angelo

Cyprus

4 PI

Caruana Joseph

Cyprus, Belgium

6 PI

Debono Johann

Cyprus, France, Italy, Spain, Ukraine, Vietnam, Slovenia, Canada, UK

33 PI

Farrugia Jane

Cyprus

3 PI

Grech Pauline

Cyprus

5 PI

Lungaro Joseph

Cyprus, Egypt

5 PI

Mangion Paul

Egypt, Belgium

2 PI

Mifsud Mario

Cyprus

2 PI

Xuereb Anthony

Greece

12 PI

1 HM 1 SM

1 GM 1 HM

( PI = Projected Images, C/MP = Colour or Monochrome Prints, M = Medal, GM = Gold Medal, SM = Silver Medal, BM = Bronze Medal, HM = Honorable Mention, R = Ribbon )

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Ken Dickson (AFIAP, AAPS, UPI CR1) KEN DICKSON IS AN AUSTRALIAN BASED PHOTOGRAPHER WITH NEARLY 30 YEARS EXPERIENCE. A REGULAR CONTRIBUTOR TO INTERNATIONAL COMPETITIONS, KEN HOLDS HONOUR LEVELS BOTH WITHIN AUSTRALIA AND INTERNATIONALLY. HE STARTED IN PHOTOGRAPHY WHEN TRAVELLING THE WORLD WITH THE NAVY USING BOTH FILM AND SLIDE FILM. MOVING TO DIGITAL IN 2004, KEN HAS EMBRACED THE AVAILABLE TECHNOLOGIES TO CONTINUE HIS ARTISTRY. WITH A LOVE FOR SHARING HIS KNOWLEDGE AND EXPERIENCE KEN HELPED TO LAUNCH OZLIGHT PHOTO ADVENTURES (www.ozlightphoto.com) PROVIDING COURSES AND PRACTICAL WORKSHOPS IN ALL ASPECTS OF PHOTOGRAPHY.

A Perfect Portrait Location?

“Location, Location, Location”, we hear this phrase used continually when it comes to Real Estate. Quite often photographers get caught up with the same phrase and spend all their time looking for the perfect location. Unfortunately those people are most likely doing themselves a great disservice and will almost certainly be missing out on wonderful opportunities right in front of them.

Obviously in landscape photography, location dictates a lot of what you are going to capture. So you will need to work within those confines in your efforts to make wonderful landscape photo’s (refer my previous blog post Working a Scene - about ways to do this).

When it comes to portrait photos the photographer is a lot less constrained and should be on the 20

by Ken Dickson (AFIAP, AAPS, UPI CR1)

lookout to make the most of every scene. Whilst it would be wonderful to have the perfect location every time we wanted to make a photo, for the majority of time it comes down to the photographer to utilize the location that is available and still make something special.

One of our regular workshops is to walk through the city and capture natural light portrait photos. During this workshop we are not only looking for areas of great light, we are also looking for interesting locations in which to capture these portraits.

One of the regular locations we use is shown in the image on page 21, basically we are looking at a tree situated within a roundabout in the middle of the city, a pretty boring location that thousands of people pass by without giving a second thought.

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in this endeavour is going to come from the placement of the subject and the way you frame the picture, you may need to change your angle or change your lens.

• The second element is going to be the light. Getting great light on the subject is crucial to any photo Now have a look at the image we were but when dealing with a difficult able to make in this location. We have location it is paramount. With the used the site very well and crafted a correct light you will be able to focus wonderful portrait. the view onto the subject with the background becoming dramatically less important.

• Do not be afraid to use trickery.

Sometimes just using a small piece of the location in your background is enough to tell a much bigger story and that story does not even need to be related to your location. For example, by positioning the model correctly within the tree in the middle of that roundabout, we have transported the viewer to the middle of a forest.

Whilst every photographer seeks the perfect location those photographers who do well, very quickly realize that we need to make the best of any So what is the key to making the best location. With this realization and of a less than ideal location when the relevant skills under your belt, you may just find that every location is in making a photo? fact the perfect location.

• Firstly you need to determine what is good about the location and what is bad. You are then going to try and For other interesting articles, check out the emphasise the good parts and remove blog at Ozlight Photo Adventures – www. ozlightphoto.com.au/blog the bad parts from your photo. Success Issue 1 / 2015 - Mar 15 / May 15

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Flash off camera (1/2 power) behind the object Why did you compose the shot as you did?

Through the past years, I have become intrigued by the beauty of simplicity of everyday life objects. It is very easy to overlook the things with which we are very familiar. However I try to make an effort not to overlook things which are familiar to me but may be original and innovative photo subjects.

by Noel Fenech Where was it shot?(location)

The last thing I see before I switch off the bedroom lights is the lampshade just overhead. This photo is a detail of this shade.

H ow Wa s I t S h o t ?

Flash set -u p, i f a ny?

At home, on the dinner table just before I What inspired me to take this photo are received strict orders to clear up as dinner the particular flowing form and the play with light and darker parts. I actually shot this was ready. photo quite some time back but it still is one of my favourite pieces.

What gear(camera, lens etc.) did you What post production work has been done on use? this image?

Canon 450D with Tamron 24-70mm Lens I used Photoshop CS5 and converted the image to black and white. Since the shade was white, I enhanced contrast using levels.

What settings did you use?

Raw sRGB

What was the target of this shot?

Exposure 1/160 sec at f/4.0

This is actually one of the pieces which I have never used in competitions. The target was to learn to play with light and shadow and it was the beginning of my interest in table top photography.

Focal Length 46mm ISO Speed Rating: ISO 200

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Where was it shot (location)?

This photo was shot in my study room on a black plexi sheet. The Plexi is extremely opaque and acts as a mirror with high reflectiveness and gives none of the second reflection we see with glass.

What gear (camera, lens etc.) did you use?

Canon EOS 7D, EF 24-105mm L USM Lens. A tripod (Manfrotto-190XPRO3 with 804RC2 Head) was also used together with a cable-release. A wine glass and a glass-jar top were used and composed as shown.

What settings did you use?

by Jeffrey Cassar

This image was captured with camera set to Manual Mode. Aperture was f/18,

shutter speed set to 1/60second and ISO100. The metering mode was set as Pattern and the distance from the subject was around 750mm. White balance was set to Auto as this setting can be easily adjusted in post-production since this was a RAW file.

Flash or lighting set-up, if any?

Daylight could have worked perfectly, but I used flashguns here as I was shooting late at night and hence with low light conditions. A soft-box tent was used and flashes were placed outside, two on each side of the tent and another one at the back. Black sheets of paper were placed on either side as well, in order to enhance the black reflections back into the stem, and to help define the shape. Flashes were configured on ¼ power and placed 2 feet away from the tent.

Why did you compose the shot as you did?

The main aim was to create a striking arty abstract image using the refractive properties of glass: the distortioneffect. Although distortion can be irregular or follow many patterns, the most commonly encountered distortions are radially symmetric, or approximately so, arising from the symmetry of a photographic lens. Using a black background with uniform white spots (created in Photoshop and printed on an A3 size matt paper), I used the distorting properties of the glass-tap to form intriguing abstract shapes and patterns.

What post production work have you done on the shot?

Not much post-production has been done. I used Photoshop CS5 to crop the image and added a new adjustment layer: black/white gradient layer to transform image to monochrome.

What was the target of this shot?

The main target was to practise and create something different from what we are used to see. Glass, which is both translucent and reflective, can be one of the most challenging subjects to shoot. When you are shooting glass, getting some good looking reflections is the key to producing an image that will flatter the subject best.

It was my first time experimenting with table-top photography using glass, and while I was practising I noticed that apart from reflections one can also try to capture the background patterns that are distorted by the glass itself. Hence, after some brainstorming and practising, I aimed to produce an image which highlights the patterns distorted by glass. The result was – The “Zebrato”.

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Photography by Mark Brincat

Society Activities

Aerial Photography

by Daniel Cilia

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L e t Yo u r W o r k S p e a k

by Joe Smith

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Capturing the Moment * Photos from my visit to India * Shooting Kick Boxing

by Joseph Lungaro

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Society

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Activities

Photography by Mark Brincat

1st column - The monthly walk - members of the Society at Valletta.

2nd & 3rd column - The monthly walk - members of the Society at Gudja.

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Society Activities

T h e C h r i st m a s G et- To get h e r

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Slide Presentation by Anthony Sammut - “L-Ahhar Jum.”

Judging of the 2nd Panel - Group Portraiture by Albert Demarco, Peter Bartolo Parnis, Anthony Xuereb

Photography by Mark Brincat

MPS Calendar of Events compiled by Jane Farrugia Thursday, 5 March

Deadline for 5th mentoring competition Ruben Buhagiar - Essay Photography

Sunday, 8 March

Alex Attard Photographic Exhibition visit and discussion (Sunday a.m)

Thursday, 12 March

5th Mentoring competition People who need people/colour prints

Monday, 16 March

Deadline for panel

Thursday, 19 March

No meeting

Thursday, 26 March

Panel-Still life/vegetables/monochrome/dpi

Thursday, 2 April

No meeting

Thursday, 9 April

Members meeting

Sunday, 12 April

Monthly photo walk

Thursday, 16 April

Deadline for 6th mentoring competition Ramon Sammut - What makes a good photo

Thursday, 23 April

6th Mentoring competition/Benches/monochrome/prints

Thursday, 30 April

Discussion on 5th and 6th mentoring competitions

Saturday, 2 May

Closing date for 50th National Annual Competition

Thursday, 7 May

Albert Demarco - Abstract Photography

Sunday, 10 May

Monthly photo walk

Thursday, 14 May

Deadline for portfolio / Members meeting

Thursday, 21 May

Portfolio Competition / Open

Thursday, 28 May

Presentation by guest foreign judge

Saturday, 30 May

Judging of the 50th National Photographic Competition

Sunday, 31 May

Judging of the 50th National Photographic Competition

â&#x20AC;&#x153;Photography can only represent the present.

Once photographed, the subject becomes part of the past.â&#x20AC;? Berenice Abbott

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Notice to Members It is my intention and that of the Committee Members to involve as many members as possible to contribute in the Click Magazine. For this reason, from the next issue (Jun-Aug15), the front cover image shall be selected from another paid-up member and not automatically chosen from the one contributing to the member â&#x20AC;&#x2122;s profile.

We are hereby asking all those interested to have their work on the front cover to kindly submit a high resolution photo in portrait orientation in 300dpi to click.editorialteam@gmail.com and mark subject as â&#x20AC;&#x153;Click Front Cover Imageâ&#x20AC;?. Any member can submit up to two images. Please insert your name and surname and title of photos in your email.

This is your magazine and your involvement is kindly solicited.

The Editor

A Canon EOS 1200D digital camera complete with kit lens and SD card (shown above) was kindly donated by Avantech to the Malta Photographic Society. This will be put to good use

by Mark Anthony Brincat during our activities.

Thank you Avantech.

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